After a string of award-winning arthouse hits like Kill List and A Field in England, director Ben Wheatley and writer Amy Jump stumble with this adaptation of the 1970s J.G. Ballard novel. The satirical dystopian setting offers buckets of eye-popping visual style, plus outrageously twisted characters the A-list cast have a lot of fun sinking their teeth into. But while the themes are strong, the people on screen are so aggressively loathsome that it's not an easy movie to watch.

It's set in a brutal concrete tower within commuting distance of London, where new resident Robert (Tom Hiddleston) is learning his way around the building's modern, self-contained design. He especially enjoys flirting with his sexy upstairs neighbour Charlotte (Sienna Miller). But the building has a social structure that is creating some serious tension. Wealthy residents like the tower's architect Anthony (Jeremy Irons) live at the top, while economically struggling families like Helen and Richard (Elisabeth Moss and Luke Evans) are closer to the ground, with middle-class families in between. So when the lower floors lose their supply of water and electricity, they revolt against the upper classes, waging all-out war in the hallways.

The political commentary is astute and perhaps even more timely today than it was in 1975, when the novel was written and when the film is set. And each of the characters is full of energy and anger. So it's frustrating that the choppy editing style seems to lose track of people and plot-threads as it shifts around to various angles on the action. This makes all of the violence and sex feel oddly random and excessive, as things get increasingly nasty and each of the people loses the audience's sympathy. Hiddleston has terrific presence, but the film kind of abandons him along the way. While Irons is hamming it up shamelessly, Evans is inexplicably brutal and both Moss and Miller are little more than victims.

'If only we had enough money to move to a bigger house', an ongoing predicament in most households around the world. Just a little more space, just a little more comfort. Robert Laing is a young doctor who's currently embracing the single life.

Robert thinks that a beautiful closed off high-rise apartment is just the place for him to make a home. His flat is located on the twenty-fifth floor which is somewhere in the middle and as Robert settles in and is introduced to his new neighbours, he soon begins to realise that there's a hierarchy within the building -the higher the floor you're on, the more your life is worth.

The higher you go in the 40-odd floored building, the more palatial your surroundings become. Somehow the man behind the design of the building appears to hold more answers than he's willing to give. Lines are soon crossed and war breaks out between the self-imposed floor class system.

Stan Lee is set to bring his creative talents to the British small screen for the first time, as the legendary comic book writer is penning a new drama for UK television. ‘Lucky Man’, which will star James Nesbitt, has already begun filming and will air on Sky One next year, the channel has confirmed.

Stan Lee is bringing 'Lucky Man' to Sky One next year.

Nesbitt stars as DI Harry Clayton, a gambler and policeman in London who is given a charm by a mysterious woman which appears to enable him to make his own luck. Once he has the charm Clayton, whose wife and child had left him thanks to his gambling, begins to see his fortunes change for the better.

International pharmaceutical company The Umbrella Corporation's deadly T-virus - initially designed to dramatically alter living and recently dead organisms - continues its rapid spread throughout the world, turning everyone in its path to flesh eating zombies, after it was released from the company's underground base near Raccoon City.

Christopher Paolini began writing Eragon, a fantasy novel about dragons, elves, and a farmboy who finds out that his destiny is to destroy an evil empire, when he was 15 years old. Those themes may sound familiar to you, and that was perhaps an important part of the book's success: It became a bestseller.

I could have written a similar book (though perhaps not when I was fifteen) but I never guessed that the Tolkien estate and Lucasfilm would have given permission to use all of their ideas. As one of Paolini's characters says, forgiveness is easier than permission, and everyone seems to have forgiven Paolini (up to a point -- we''ll see how well the movie does). That's good, because every major plot point in Eragon is ripped off from The Lord of the Rings or the Star Wars series (with occasional ripoffs, probably subconscious, from other sources, like The Wizard of Oz). In fact, Eragon is so derivative it's surprising that it even got published. Or it would be, if publishing houses still had standards.

Oddly enough, there's little shopping at all in Late Night Shopping. How could there be? The four Brits whom the film resolves around all work at night -- so obviously they'd have to do their shopping during the day.

That little inconsistency is only the first of hundreds you'll find in this virtually unseen flick, which features some engaging characters and performances but blows it all with a script that alternates between illogical and just plain dumb.

Anyone who's a fan of the Resident Evil series of video games can't help but get a little twinge of excitement seeing the trailer for this second RE film, even if you thought the first Resident Evil was atrocious. Why? This flick has some of your favorite game characters: Jill Valentine (Sienna Guillory) and the horrific Nemesis monster. Dude!

But while I'll admit that I felt that twinge (since I am an old fan of the games), I can't say that this equally lame sequel does anything to prolong that twinge into real enjoyment. Resident Evil: Apocalypse rots - as badly as its zombie costars. It has a few cheap violent thrills, but none of the true suspense or chills that you'll crave.

In an era of resurgent zombie-flick creativity that has seen the likes of "28 Days Later" and this year's "Dawn of the Dead" remake, the leaden mindlessness of "Resident Evil: Apocalypse" is nothing short of pathetic.

Having burned through most vague ties to its videogame roots in the unwatchable first "Resident Evil" -- an inept, logic-impaired, plotless wonder of unmitigated noise, cheap scares and endless ammunition -- this sequel begins with the biggest opening-scene cliché in all zombiedom: a quiet day in the suburbs where chaos will soon reign.

Underneath this blissful berg (which returning writer Paul W.S. Anderson seems to have forgotten he showed destroyed in Part One) is the lab where the global-evil Umbrella Corporation's virus experiments went so very wrong back in 2002. Foolishly re-opened to learn "what went on down there," out pours an army of the undead, and apparently there are only two people who really know how to fight them -- slinky, half-naked, heavily-armed 105-lb. hotties Milla Jovovich (the original movie's survivor) and Sienna Guillory ("Love Actually").

In 1960, director George Pal created a rather quaint film version of H.G. Wells' "The Time Machine" which was such a product of its day that now its doom-saying 20th Century nuclear war and its 800th Century society of idyllic, primitive blonde imbeciles seem far more like silly cinematic nostalgia than legitimate futurism.

Directed by Wells' great-grandson Simon Wells, the 2002 "Time Machine" opens with a modern movie motivational gimmick: It seems the murder of his true love drives our hero's desire to fiddle with temporal physics. After an obligatory failed attempt to turn back the clock and save her, Alexander heads into the future, hoping to somehow understand why he can't change the past.